Online catalog of concert music: solos, duos, chamber music and more!
Guitar solos, unaccompanied
DANCES AND INTERLUDES for solo guitar by Howard J. Buss was commissioned by guitarist, Robert Phillips. It features 3 dance-like sections preceded by a soulful introduction and separated by developmental interludes. The composer was inspired by styles from 3 countries: the songo from Cuba, bossa nova from Brazil, and rumba flamenco from Spain. Traditionally, the songo combines elements of the folkloric rumba with popular Cuban dance music. The Latin beat of the songo is specifically designed for the drum set. Although drums are not used in this piece,the first dance, ala songo, captures the choppy, energetic flavor of the Cuban model. The interlude that follows transitions to the mood for the second dance, ala bossa nova. This section has the smoother, more relaxed quality of this popular Brazilian style. It gradually gives way to the final dance, ala rumba flamenco. The energetic strumming patterns, colorful effects with muted strings, percussive interjections with the palm of the hand and fingertips capture the spirit of this exciting Andalusian genre. (8’15”) Grade V. B463 $10.00
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
Guitar with one other instrument (Works are listed in alphabetical order) (top of page)
LULLABYE FOR BEAR for flute
& guitar by Lee Heritage was composed at the request of Samuel Adler and was first performed as a postlude to a lecture he presented at the Brevard Music Center in the summer of 1977. The performers at the premiere performance were flutist Amy Heritage and pianist Andrew Cooperstock. Later, Dr. Heritage created a version of this work for flute and guitar. In 1997 Lullabye for Bear won second place in the Composer’s Guild Music for Children composition competition. The reviewer wrote: “This is a beautiful work that is appealing and well constructed. The composer uses conservative modern materials in a fresh manner in the spirit of children with limited technical difficulties. Delightful!” Grade III. (330)
TWILIGHT REFLECTIONS (2001) for flute & guitar by Roger Vogel, written for the Helios Duo.The lyrical nature of the music suggests images of fading light after sunset reflected on water or glass, and also refers to evening thoughts, perhaps at times dramatic ones. (8) Grade V.
Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3.mp3
TWO POEMS (1992) for flute & guitar by Lee Heritage was inspired by 2 poems by Emily Dickinson: This - is the land - the Sunset washes - and Wild Nights. Winner of the 1998 Newly-Published Music Contest of the National Flute Association. (630) Grade IV.
Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3
WAVE TRAIN (1990) for flute & guitar by Howard J. Buss. The interaction of the lyrical melodies in this beautiful and frequently performed work is reminiscent of the patterns created by intermingling waves on the surface of water. The flute & marimba version of this work is recorded on the HoneyRock label by the McCormick Duo. This is an attractive feature number which also works well as a contest piece. (615)
WINTER SUN (1996) for flute and guitar by Roger C. Vogel. This charming work reflects the hope radiating from the sun on a long Winters day. (6) Grade IV.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3
Guitar in chamber music (Works are listed in alphabetical order) (top of page)
Excerpt 1, the opening.mp3; Excerpt 2.mp3; Excerpt 3 (the end).mp3
LAS MENINAS: VARIATIONS (1985) for oboe, cello, guitar & piano by David Alpher was inspired by the visual variations that Pablo Picasso painted in 1957 on Velasquez 1656 masterpiece commonly known as Las Meninas. Several different musical styles are employed during this Theme and 21 Variations in a manner analogous to the stylistic changes Picasso effected from one painting to the next. (16') Grade V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4.mp3
A YouTube video with a slideshow of the paintings
TRADITIONS (1990, 2014) for violin, clarinet, guitar & string bass by Howard J. Buss was commissioned by the Luski Endowment for Viva Klezmer! as part of the nationwide 50th Anniversary Celebration of the American Music Center. In 2014 the composer revised the work, further developing some sections. Traditions is a synthesis of traditional Jewish Klezmer music and elements of Western concert music. From the ornate opening cadenza (based upon the well-known "Shalom Alechem" melody to the jubilant, energetic "freilach" which concludes the work, The music spans a wide range of emotions. It is meticulously notated so that even if one has not performed Klezmer music before, it is relatively easy to play in this exciting style. (710)
Grade IV-V. Score Samples: Score_excerpt.pdf; Clarinet part.pdf
Music or CDs may only be returned if defective. (Top of Page)
String Music Index:
(Click on an instrumentation link, works are listed in alphabetical order within each category.)
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